INTRODUCTION TO GREEK THEATRE

Sources of information Extant plays and fragments Records of dramas (scattered) Commentaries (such as Aristotle) Archeological remains of buildings Visual art - primarily from vase painting

The conclusions we make are highly conjectural, but we can discuss the standard accepted views of Greek theatre

Four Qualities of Greek Drama1. Performed for special occasions (festivals)

Athens had four festivals worshipping Dionysus -- (Bacchus in Latin, Roman) god of wine, fertility, rebirth The son of Zeus [a god] and Semele [a mortal], reared by

satyrs, killed, dismembered, and resurrected (was actually reborn) –

2. Competitive -- prizes awarded Actors and playwrights competed --Oedipus apparently

didn't win (was 2nd) -- 430 B.C.

Four Qualities of Greek Drama3. Choral -- singing seems to have been an important

part a chorus of men (varied in size from 3 to 50) -- many

think the choral song -- dithyramb-- was the beginnings of Greek drama (but origins are unclear) Some believe the chorus sang, moved, danced Most believe the chorus underscored the ideas of the play,

provided point-of-view, and focused on issues of the play and implications of the action, established the play's ethical system, and participated in the action

4. Closely associated with religion - stories based on myth or history

Structure of the Greek Tragedy Late point of attack Violence and death offstage (Sophocles's Ajax  is

an exception) Frequent use of messengers to relate information Usually continuous time of action (except

Aeschylus's Eumenides) Usually single place (except Ajax) Stories based on myth or history, but varied

interpretations of events Focus is on psychological and ethical attributes of

characters, rather than physical and sociological.

Playwrights

Tragedies Aeschylus - 525-456 B.C. - 80 plays, 7

extant

Euripides - 480-406 B.C. - 90 plays, 18 or 19 extant

Sophocles - 495-406 B.C.-100 plus plays, 7 extant

Playwrights Comedies

Aristophanes - 448-338 or 380 B.C. 50 plays, 11 extant.

Lysistrata, 411 B.C. 45 plays extant total 32 tragedies, 12 comedies, 1 satyr play (satirical parody-short)

Menander - 342-291 B.C., the only one of some 64 writers known about - The Grouch is the longest play fragment - influenced Roman comedy

Aeschylus his are the oldest surviving plays - began

competing 449 B.C. at Dionysus Theatre. Most of his plays were part of trilogies; the only extant Greek trilogy is The Orestia.

He is believed to have introduced the 2nd actor (Thespis was one, the 2nd added; after 468 B.C. Sophocles is believed to have introduced the 3rd actor, which Aeschylus then used.

Characteristics of Aeschylus's plays:

characters have limited number of traits, but are clear and direct

emphasizes forces beyond human control evolution of justice, impersonal power of state eventually replacing

personal revenge chain of private guilt and punishment - all

reconciled at end

Sophocles 496-406 B.C.

won 24 contests, never lower than 2nd

believed to have introduced the 3rd actor

fixed the chorus at 15 (had been 50) 

Characteristics of Sophocles' plays:

emphasis on individual characters reduced role of chorus complex characters, psychologically well-

motivated characters subjected to crisis leading to

suffering and self-recognition - including a higher law above man

scenes climactic action clear and logical poetry clear and beautiful few elaborate visual effects theme emphasized: the choices of people

Euripides 480-406 B.C.

very popular in later Greek times (little appreciated during his life)

sometimes known as "the father of melodrama"

Characteristics of Euripides' plays

dealt with subjects usually considered unsuited to the stage which questioned traditional values (Medea loving her stepson, Medea murdering her children)

dramatic method often unclear - not always clearly causally related episodes, with many reversals, deus ex machina endings (a god introduced into a play to resolve the entanglements of the plot. )

many practices were to become popular: using minor myths or severely altered major ones

less poetic language, realistic characterizations and dialogue

Tragedy was abandoned in favor of melodramatic treatment.

Theme emphasized: sometimes chance rules the world, people are more concerned with morals than gods are.

Greek Comedy not admitted to Dionysus festival till 487-486

B.C. – late unknown origins or influences or from mime - satirical treatment of domestic

situations or burlesqued myths Called "Old Comedy" (Menander's plays are

considered to be Greek "New Comedy") commentary on contemporary society, politics,

literature, and Peloponnesian War. Based on a "happy idea" - a private peace with

a warring power or a sex strike to stop war exaggerated, farcical, sensual pleasures

Structure of the ComedyPart One:

prolog - chorus gives debate or "agon" over merits of the ides

parabasis - a choral ode addressing the audience, in which a social or political problem is discussed

Part Two: scenes show the result of the happy idea final scene:

(komos) - all reconcile and exit to feast or revelryin 404 B.C., Athens was defeated in the Peloponnesian War; social and political satire declines.

Production/Finance Playwrights applied to the archon (religious leader) for a

chorus. Expense borne by a choregai, wealthy citizen, chosen

by the archon as part of civic / religious duty Choregus paid for training, costuming, etc. (the term

choregus also refers to leader of the chorus. The state was responsible for theatre buildings, prizes,

payments to actors (and perhaps to playwrights). Prizes were awarded jointly to playwrights and choregus.

Dramatists themselves probably "directed" the tragic plays, but probably not the comedies.

Aeschylus and others in his time acted, trained chorus, wrote music, choreographed, etc.

Playwrights called didaskalas (teacher) -- [didactic = teaching]

Actors and Acting performed in an outdoor theater used masks were almost always performed by a chorus and

three actors (no matter how many speaking characters there were in the play, only three actors were used; the actors would go back stage after playing one character, switch masks and costumes, and reappear as another character).

unless later revived, plays were performed only once.

Functions of the chorus an agent: gives advice, asks, takes part establishes ethical framework, sets up

standard by which action will be judged ideal spectator - reacts as playwright hopes

audience would sets mood and heightens dramatic effects adds movement, spectacle, song, and dance rhythmical function - pauses / paces the

action so that the audience can reflect.

Music

probably a single flute, sometimes a lute no one knows who composed the music nor

what it sounded like probably resembled oriental quarter tones different modes of music associated with

comedy or tragedy

Masks used to show the

emotions of the characters in a play

allowed actors to switch between roles and play characters of a different gender

Parts of a Greek Theatre Early Greek theaters were probably little more

than open areas in city centers or next to hillsides where the audience, standing or sitting, could watch and listen to the chorus singing about the exploits of a god or hero.

From the late 6th century BC to the 4th and 3rd centuries BC there was a gradual evolution towards more elaborate theater structures, but the basic layout of the Greek theater remained the same.

Ancient Greek Theatre

Orchestra (literally, “dancing space”)

Theatron (“viewing-place”)

Skene (“tent”)

Parados (“passageways”)

Orchestra normally circular. a level space where

the chorus would dance, sing, and interact with the actors who were on the stage near the skene.

earliest orchestras were simply made of hard earth.

Theatron where the spectators

sat. usually part of hillside

overlooking the orchestra, and often wrapped around a large portion of the orchestra

spectators in the fifth century BC probably sat on cushions or boards

Skene usually decorated as a

palace, temple, or other building, depending on the needs of the play.

had at least one set of doors, and actors could make entrances and exits through them.

had access to the roof of the for actors playing gods and other characters

Parados are the paths by which

the chorus and some actors (such as those representing messengers or people returning from abroad) made their entrances and exits.

audience also used them to enter and exit the theater before and after the performance.

Pictures of Greek Theatres